Jay Harvey Upstage

We are trained to believe in individual moral responsibility, but it's not making excuses to insist on the larger picture of understanding its limits. How are some of us more stamped than others by inescapable influences that rob us of agency? "Machinal" suggests strongly that for women, particularly a century ago, freedom of action is shaped conclusively by social limits affecting love, work, and family connections. The 1928 play by Sophie Treadwell is worth the expressionist revival that Southbank Theatre Company gives it through next Sunday at Shelton Auditorium. The theatrical style, conscientiously shepherded here under Marcia Eppich-Harris' direction, means that the feeling of events, especially protagonist-centered, is as important as the facts involved. There's no separation between what happens to the main character and how she processes her experience, symbolized and dream-linked as it is. Narrative orderliness is immaterial in this sort of storytelling...

Angela Brown, soprano from Indianapolis On the cultural high ground, no one minds departure from the formulas of presentation, at least when  there's something fresh about it. For symphony orchestras, the time-worn layout, in order, runs: overture, concerto, intermission, symphony. Some of that is intact this weekend as the Indianapolis Symphony Orchestra 's Classical Series resumes at Hilbert Circle Theatre. The orchestra's first of two full-length concerts had an overture by a mainstream composer to start with and a symphony by a master to conclude.  To help support the overall feeling of novelty, the overture was the largely unfamiliar one to Weber's opera "Euryanthe," a poster child of good composition let down by a poor libretto. The symphony was the easy-to-overlook No. 8 in F major by Beethoven, a work memorably characterized by Schumann as "a slender Greek maiden between two Norse giants" (the seventh and ninth symphonies).  The real novelty ...

Barthold Kuijken, conductor and traverso soloist   If there is plenty of evidence that progress in the musical flowering called the High Baroque can be justly considered "Towards Telemann," as   Indianapolis Baroque Orchestra' s concert Sunday was titled, a host of influences he absorbed must have been responsible. That was explored fruitfully in the program put together and led by its artistic director, Barthold Kuijken, at the University of Indianapolis.  Georg Philipp Telemann's breadth of musical creation was fed by his receptivity to French, Italian, and German styles, types of patronage, and modes of expression. His appeal to his contemporaries and shortly after his time (1681-1767) was straightforward and broadly based, thanks to a succession of courtly appointments that made him more widely known than his contemporary, J.S. Bach. And the theater bug bit him as well. His work as an impresario and composer of opera helped, giving him a reputation for facil...

Marc-Andre Hamelin doesn't impose his personality on a variety of music so as to build a cult following. This is unlike old Hollywood stars, who molded each role onto their public personalities and built their careers on offering the best new version of their marketed presentation, like John Wayne or Cary Grant or Katharine Hepburn.  But a personality need not be irrelevant or a distraction if the effort to probe deeply into a composer is sustained: the composer is revealed along with the individuality of the performer, and Hamelin does that to the level of wizardry. Thus a Debussy prelude as an encore has a veiled charm that the pianist seemed to view from the inside out, as though inhabiting the colorations and the linked, unsquare phrasing characteristic of the French composer. The demand to hear more, enthusiastically generated by the Orpheus Chamber Orchestra with whom he came to Carmel Saturday night, shed that kind of light. Marc-Andre Hamelin played Mozart with ins...

One of many good things said to come in threes (so far) is the collaboration between the Indianapolis Symphony   Orchestra and Indianapolis Ballet. The fairy-tale formula of the threefold charm fits perfectly with the current production of "The Sleeping Beauty." The Petipa-Tchaikovsky masterpiece tops all stage and screen versions of Charles Perrault's beloved fairy tale. In the first of three performancees Friday night in Clowes Hall, the guiding force was the company's interim director, Michael Vernon, succeeding the inspired founding director Victoria Lyras, who retired late last year. The production looked splendid, sets and costumes alike, especially in the first scene, The Christening, in which the traditional rite for infants at society's highest level is at the peak of splendor. Yoshiko Kamikusa danced the Rose Adagio on opening night. But of course, an error of royal etiquette, the seneschal Catalabutte's failure to invite the wicked fairy Carabosse,...

 George Bernard Shaw, one of a small handful of readable music critics of stature, once called  Mendelssohn's Symphony no. 3 in A minor "a work which would be great if it were not so confoundedly genteel."  A champion of blood-and-thunder Verdi and the spiritually titanic Wagner, Shaw maybe made such an assessment on the basis of undernourished performances he'd heard of the work nicknamed "Scottish" or "Scotch." The latter word is no longer applied respectably to anything much besides the venerated distilled whiskey from Scotland. In an essay on the composition, the beverage's distinctive flavor encouraged Michael Steinberg, one of the commentators on the "Scottish" symphony, to describe the dark coloration of its first movement as "peaty."  James Ehnes always makes a strong impression here.  Water over the region's peat beds lends the beverage its character — and by extension the kind of orchestration with which the ...